Jean-Claude Eloy

Main works

"Etude III" (1962) for orchestra (20')
"Equivalences" (1963) for 18 instrumentalists (10')
"Faisceaux-Diffractions" (1970) for 28 instrumentalists (25')
"Kâmakalâ" ("The Energy Triangle ", 1971) for three orchestra groups, five choir groups, three conductors (approximately 32')
"Shânti" ("Peace", 1972-73) for electronic and concrete sounds (1h45', WDR Elektronische Musik Studio, Cologne)
"Fluctuante-Immuable" (1977) for large orchestra (20')
"Gaku-no-Michi" ("The Ways of Music", translated also as the “Way of Sounds”,1977-78), a film without images for electronic and concrete sounds (3h50', NHK Electronic Music Studio, Tokyo)
"Yo-In" ("Reverberations",1980), sound theatre for an imaginary ritual, with a character-percussionist, electroacoustics, lighting (3h40' in 4 acts, Instituut voor Sonologie, Utrecht)
"Etude IV" (1979), electroacoustic, UPIC - computer with graphic interface - (20')
"A l'Approche du Feu Méditant" (“Coming Close to a meditating fire”,1983) for 27 instrumentalists from the "Gagaku" orchestra in Japan, and two Buddhist monk choirs from the Shingon and Tendai sects (2h30'), with six percussionnists
"Anâhata" ("Primal Vibration", 1984-86) for two voices of soloist Buddhist monks singers, three instrumentalists from the "Gagaku" orchestra, percussion, electroacoustics, lights (3h45')
"Butsumyôe" and "Sappho Hikètis" ("The Ceremony of Repentance", "Sappho imploring", 1989) for two female voices (extended vocal techniques), electroacoustics (1h00')
"Erkos" ("Song, Praise", 1990-91) for a Satsuma-Biwa soloist and vocalist ("Shômyo" techniques), with electroacoustics (1h05', WDR Elektronische Musik Studio, Cologne)
"Two American Women" (1996) for two female voices (singing-speaking techniques), with electroacoustics
" … kono yo no hoka …" (" … this world beyond …", 1996), solo-voice (extended vocal technics, beyond the "Shômyô" ones 30')
"Galaxies" (1996), electroacoutics, with vocal solo (1h15')

Main performances

Works for orchestras – choruses – large chamber ensembles :

"Domaine Musical" concerts, Paris (1962, 1963, 1964); Darmstadt festival; Donaueschingen festival (1963); Copenhague (ISCM, 1964); "Monday Evening Concerts", Los Angeles (1965); New York (Contemporary Chamber Ensemble, 1965); Stockholm (ISCM, 1966); "Musica Viva", San Francisco; "Das Neue Werk", Hamburg (NDR); "Reconnaissance des Musiques Modernes" (RTB), Brussels ; Concertgebouw, "Actuele Muziek", Amsterdam; Library of Congress - Coolidge festival, Washington (1970); festival des SMIP, Paris (1971); London (BBC Round House, 1974); "Begegnung mit Indien", Cologne (WDR, 1975); Paris (Orchestre de Paris, 1977); festival de La Rochelle (1978); "Pan-Music" festival, Tokyo; "Perspectives du XXe siècle", Paris (Radio-France); "Music Today", Tokyo (1979); National Theatre of Japan (Kokuritsu Gekijo), Tokyo (1983); "Présences 2000" (INA-GRM, Radio-France), Paris (2000); etc.

Works with varied soloists and electro-acoustics :

Festival d'Automne de Paris (Paris Autumn Festival, 1974, 1979, 1986, 1989, 1992); "Musik der Zeit", Cologne (1981); Paris (“Musique en Théâtre”, 1981); “Festival d'Avignon” (1981); "Sigma", Bordeaux (1980, 1986, 1996); Brussels (festival de Wallonie, 1983); "Holland Festival", Amsterdam (1984); Tsukuba, "Expo 85" (Japan 1985); "Musica", Strasbourg (1985, 1991); "Inventionen", Berlin (1985, 1992); Donaueschingen festival (1990); "Almeida" festival, London (1990); "Warsaw Autumn Festival", Warsaw (1994); Lyon ("Musique en scène", 1997); Grenoble (38e Rugissants, 1996); Dijon ("Why Note", 2002); etc.

Electro-acoustic works :

festival de Royan (1974); London (Round House - London Music Digest, 1975); Los Angeles (Vanguard Theater, 1975); Berkeley ("Arch Street concerts", 1975); Austin (University-Museum); Yale (University-Church); Kyoto (1977, 1979); Zagreb ("Muzicki Biennale", 1978); Toronto ("New Music Concerts"); Montreal (SMCQ); Chicago (Museum of Contemporary Art); Utrecht (Geertekerk, Instituut voor Sonologie, 1978); Sâo Paolo (Museu de Arte); Rio de Janeiro (Salle Cecilia Mereles); Hong-Kong (City Hall); Bandung; Jakarta ; Utrecht (Geertekerk, Instituut voor Sonologie, 1980); Paris (INA-GRM, Radio-France, 1982); Berlin (“Inventionen”, Zeiss-Grossplanetarium, 1992); Grenoble (“38e Rugissants”, Grande Bibliothèque, 2001); Cologne (University, 2001); Taipei (“Sounding-Taipei”, 2004); etc.



JEAN-CLAUDE ELOY English Français
	Main works "Etude III" (1962) for orchestra (20') "Equivalences" (1963) for 18 instrumentalists (10') "Faisceaux-Diffractions" (1970) for 28 instrumentalists (25') "Kâmakalâ" ("The Energy Triangle ", 1971) for three orchestra groups, five choir groups, three conductors (approximately 32') "Shânti" ("Peace", 1972-73) for electronic and concrete sounds (1h45', WDR Elektronische Musik Studio, Cologne) "Fluctuante-Immuable" (1977) for large orchestra (20') "Gaku-no-Michi" ("The Ways of Music", translated also as the “Way of Sounds”,1977-78), a film without images for electronic and concrete sounds (3h50', NHK Electronic Music Studio, Tokyo) "Yo-In" ("Reverberations",1980), sound theatre for an imaginary ritual, with a character-percussionist, electroacoustics, lighting (3h40' in 4 acts, Instituut voor Sonologie, Utrecht) "Etude IV" (1979), electroacoustic, UPIC - computer with graphic interface - (20') "A l'Approche du Feu Méditant" (“Coming Close to a meditating fire”,1983) for 27 instrumentalists from the "Gagaku" orchestra in Japan, and two Buddhist monk choirs from the Shingon and Tendai sects (2h30'), with six percussionnists "Anâhata" ("Primal Vibration", 1984-86) for two voices of soloist Buddhist monks singers, three instrumentalists from the "Gagaku" orchestra, percussion, electroacoustics, lights (3h45') "Butsumyôe" and "Sappho Hikètis" ("The Ceremony of Repentance", "Sappho imploring", 1989) for two female voices (extended vocal techniques), electroacoustics (1h00') "Erkos" ("Song, Praise", 1990-91) for a Satsuma-Biwa soloist and vocalist ("Shômyo" techniques), with electroacoustics (1h05', WDR Elektronische Musik Studio, Cologne) "Two American Women" (1996) for two female voices (singing-speaking techniques), with electroacoustics " … kono yo no hoka …" (" … this world beyond …", 1996), solo-voice (extended vocal technics, beyond the "Shômyô" ones 30') "Galaxies" (1996), electroacoutics, with vocal solo (1h15') Main performances Works for orchestras – choruses – large chamber ensembles : "Domaine Musical" concerts, Paris (1962, 1963, 1964); Darmstadt festival; Donaueschingen festival (1963); Copenhague (ISCM, 1964); "Monday Evening Concerts", Los Angeles (1965); New York (Contemporary Chamber Ensemble, 1965); Stockholm (ISCM, 1966); "Musica Viva", San Francisco; "Das Neue Werk", Hamburg (NDR); "Reconnaissance des Musiques Modernes" (RTB), Brussels ; Concertgebouw, "Actuele Muziek", Amsterdam; Library of Congress - Coolidge festival, Washington (1970); festival des SMIP, Paris (1971); London (BBC Round House, 1974); "Begegnung mit Indien", Cologne (WDR, 1975); Paris (Orchestre de Paris, 1977); festival de La Rochelle (1978); "Pan-Music" festival, Tokyo; "Perspectives du XXe siècle", Paris (Radio-France); "Music Today", Tokyo (1979); National Theatre of Japan (Kokuritsu Gekijo), Tokyo (1983); "Présences 2000" (INA-GRM, Radio-France), Paris (2000); etc. Works with varied soloists and electro-acoustics : Festival d'Automne de Paris (Paris Autumn Festival, 1974, 1979, 1986, 1989, 1992); "Musik der Zeit", Cologne (1981); Paris (“Musique en Théâtre”, 1981); “Festival d'Avignon” (1981); "Sigma", Bordeaux (1980, 1986, 1996); Brussels (festival de Wallonie, 1983); "Holland Festival", Amsterdam (1984); Tsukuba, "Expo 85" (Japan 1985); "Musica", Strasbourg (1985, 1991); "Inventionen", Berlin (1985, 1992); Donaueschingen festival (1990); "Almeida" festival, London (1990); "Warsaw Autumn Festival", Warsaw (1994); Lyon ("Musique en scène", 1997); Grenoble (38e Rugissants, 1996); Dijon ("Why Note", 2002); etc. Electro-acoustic works : festival de Royan (1974); London (Round House - London Music Digest, 1975); Los Angeles (Vanguard Theater, 1975); Berkeley ("Arch Street concerts", 1975); Austin (University-Museum); Yale (University-Church); Kyoto (1977, 1979); Zagreb ("Muzicki Biennale", 1978); Toronto ("New Music Concerts"); Montreal (SMCQ); Chicago (Museum of Contemporary Art); Utrecht (Geertekerk, Instituut voor Sonologie, 1978); Sâo Paolo (Museu de Arte); Rio de Janeiro (Salle Cecilia Mereles); Hong-Kong (City Hall); Bandung; Jakarta ; Utrecht (Geertekerk, Instituut voor Sonologie, 1980); Paris (INA-GRM, Radio-France, 1982); Berlin (“Inventionen”, Zeiss-Grossplanetarium, 1992); Grenoble (“38e Rugissants”, Grande Bibliothèque, 2001); Cologne (University, 2001); Taipei (“Sounding-Taipei”, 2004); etc.